Best 357 quotes in «narrative quotes» category

I certainly believe you can write a narrative lyric or a lyrical narrative - why not a nyric or a larrative?

I do myself think that history is a set of skills rather than a narrative.

I don't teach narrative theory by itself anymore, but I kind of use it when critiquing student manuscripts. So, it works its way in there, whether I like it or not.

I don't have anything to say in any picture. But you do, from your experience, surmise something. You do give a photograph symbolic content, narrative content... But it's nothing to worry about!

I don't know if it's something that we as a species are hardwired for or if it's more of a contemporary phenomenon related to technology and rapid dissemination of data. I did know that whatever its cause or nature, I wanted to interrogate this phenomenon. But the only way for me to do that, the only tool I have to dissect it with, is a fictional narrative.

I don't want my readers slowed down by long passages of narrative.

I do use art as a site of protest, particularly in relation to dominant narratives.

If one writes the rules then one can contradict oneself. It's all about rhetoric, about official narratives.

I fell in love with poetry through storytelling, so my poetry tends to be fairly narrative. I like characters, I like having a beginning, middle, and ending, though not necessarily in that order.

If it sounds like writing, I rewrite it. Or, if proper usage gets in the way, it may have to go. I can't allow what we learned in English composition to disrupt the sound and rhythm of the narrative.

If a few nations step forward and begin changing the narrative of 'us and them' to 'everyone,' we will see a new dawn. If a few nations begin actually making operational a verification system we can all depend upon and push to bring all into such a system, we will all benefit.

If something produces an undue amount of pleasure or undue amount of displeasure, it's going to be judged differently and it's going to be introduced in your narrative with a different size, with a different development. So that is the next element to superimpose on the sequencing element. And in fact, that element is so powerful that very often it can trump the sequencing event, that the sequencing aspect.

If so much of your experience is devoted to the thought of documentation, you're already sort of spinning out this narrative from this moment that you are attempting to control instead of just experiencing it.

I have always wanted what I have now come to call the voice of personal narrative. That has always been the appealing voice in poetry. It started for me lyrically in Shakespeare's sonnets.

If you read many contemporary literary novels today, you may notice that regardless of the subject matter there's a 'sameness' about them, the way in which thoughts are expressed and ideas, conveyed, the sometimes dogmatic application of what are, at best, useful maxims such as, 'less is more', the narrative techniques utilised, even the same, irritating, stylistic devices scattered like pepper all over the pages.

If you can work a brand successfully into the narrative of your product, then it's really cool. Then people actually take the brand up and say, 'My positive experience in your product is directly connected and influenced by this brand and that worked great.

If you do weave one-liners into a story, you have to have an overall story as well, otherwise it doesn't really count as narrative.

If you just read the book, you're taking in the narrative, you're taking in the characters, you're understanding it in a certain way. If you make a movie it's really an act of translation.

If you're not [Federico] Fellini you might make something very vulgar. Animation made it possible to maintain unity with all these different narratives.

Ignore the trade-pub narratives about how little success indies enjoy.

I have a great amount of respect for the audience. They know narrative construct. They know all the tropes.

[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.

I have this natural thing in my head that when I sit down to write something serious, I tend to make jokes. I can't help it. I can't help but desire for the narrative to be as complicated and as truthful as possible. That's just the way my head works.

I loved the show Lost, in part because the writers were so nimble in how they would take things from previous episodes, that probably weren't created with any intent towards a larger narrative, and they would get woven into narratives in a really elegant and exciting way.

I learned there's an amazing unexplored territory in terms of narrative. Before, I thought the unexplored territory was the form, the way you shoot a movie. Now, I'm learning about the beautiful marriage between form and narrative.

I like a narrative, even if it's fractured, or kind of psychedelic. But my favorite thing is if I hear words and I close my eyes and the connotations or the image I get in my head, combine with the sound of them - sometimes phonetics. I'm just stringing those together.

I like narrative storytelling as being part of a tradition, a folk tradition.

I just don't see myself as the heroine in my own narrative.

I love the Russian absurdists - [Nikolai] Gogol,[Daniil] Kharms, and [Vladimir] Bulgakov. Even within the Russian experimentalists, there's a lineage of traditional narrative, conflict, and character development, which I find vital to my storytelling.

I'm a little bit too obsessed with the news. I find the news easier to follow than narrative entertainment programs.

I'm fascinated by the narrative of geology, and I'm a veritable pack rat of a collector on the road. I keep a rock hammer in my car.

I'm a project-based photographer; I think in narrative terms, the way a writer thinks of a book, or a filmmaker a film.

I'm Godless. I've had to make my God, and my God is narrative filmmaking

I'm glad that Jewish kids are taught about the Holocaust and other stories in our history, but I wonder if there are ways that this information and narrative can be transmitted differently.

I'm Godless. And so I've had to make my God, and my God is narrative filmmaking, which is -- ultimately what my God becomes, which is what my mantra becomes, is the theme.

I'm not sure any narrative model has been more important for me than Benjamin Britten's chamber operas.

I'm one of those apocalyptics. From the start of my immigrant days, I've been fascinated by end-of-the-world stories, by outbreak narratives, and always wanted to set a world-ender on Hispaniola.

I'm quite interested in the absolute roots of narrative, why we tell stories at all: where the monsters come from.

I'm wondering if the Roger Ailes scandal in which more than 20 women have come forward accusing him of sexual harassment is going to affect that narrative that's directed against Hillary [Clinton] and her husband pertaining to his infidelities.

In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.

In narrative films, you set up reality, so you can limit the variables. You don't have that luxury with docs.

In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.

Instead, I was interested in what I guess I could call narrative indeterminacy, in questioning the apparent, taken-for-granted authority of any particular representation of the events in question.

In the digital universe, our personal history and its sense of narrative is succeeded by our social networking profile - a snapshot of the current moment. The information itself - our social graph of friends and likes - is a product being sold to market researchers in order to better predict and guide our futures.

I obviously read and adore traditional fiction. I teach traditional fiction, I also teach all kind of not-so-traditional fiction. And since I'm such a plot buff, and I'm really such a narrative buff, I can't seem to relinquish my - not just reliance - but excitement about those traditional techniques.

I sort of feel like that's the most revolutionary thing we can do with our narrative for me as Black people is to show that we are just like you.

I think in a larger sense, immigrant narrative is comprehensive and speaks to the core of human experience.

I think it was around the time of doing those shorts. [Producer] Christine Vachon, I had a meeting with her, and she mentioned the short, this AOL short, and asked if I wanted to do one. And then the next step was the "30 for 30," and again that boosted my confidence enough to decide I'm going to do a feature narrative. And I was supported by my agency, and [producer] Jane Rosenthal has been an exceptional friend, and she produced "All We Had," she encouraged me to do the "30 for 30.

I think shows that have more of a narrative and are about what's going to happen next, those need to wrap up as a complete story. But it's weird when a goofy comedy show needs to end.

I think sometimes a narrative can come out of a single word.